ATTRIBUTED TO ANTONIO GONZÁLEZ VELÁZQUEZ (1723–1793)
A VIEW OF THE TORRE DELLE MILIZIE & CONVENT OF SANTA CATERINA, ROME
Pen & ink with washes
22 x 37 cm
Private Collection, Paris
The attribution to Velazquez, who was a pensionado of the Spanish Academy in Rome between 1747-1752, rests on a single drawing (in an almost identical hand and of a directly comparable composition) in the Biblioteca Nazionale, Madrid (see final image above). The Biblioteca's curators' notes on that work are as follows:
'Barcia considers it the work of Antonio González Velázquez, who remained a pensioner in Rome from 1747 to 1752; D. Rodríguez corroborates it...' 
The present work's attribution can only rest on that sheet, as fewer than a handful of topographical drawings by Velazquez, with the only one from this period being the Madrid sheet, exist today.
Velazquez was born into a family of Madrid artists: his father, Pablo Gonzalez Velazquez, and his brothers Alejandro and Luis, were all painters. He was awarded a scholarship to travel to Rome, in 1747, by the Real Academia de Belas Artes de San Fernando, where he had been studying under Corrado Giaquinto.
Velazquez returned to Spain in 1752 and his reputation rose, as he was awarded numerous public commissions. He was appointed Court Painter to the Kings of Spain in 1757 and participated in the grand decorative scheme then being executed in the Royal Palace of Madrid. Shortly after this came further success, as velazquez was appointed the Director of the Academy of San Fernando.
He worked the rest of his life along with Francisco Bayeu y Subías and other painters in developing cartons for the Royal Tapestry Factory under the direction of Anton Raphael Mengs. His son Zacarías González Velázquez also went on to become a painter.
 Vista de San Pietro in Vincoli y su entorno en el Esquilino, en Roma, Biblioteca Nazionale, Madrid, call no. DIB/13/5/46
(i) Gloria Mora, The image of Rome in Spain: scholars, artists and architects in Italy in the 16th-18th centuries, in Journal of Roman Archeology : Images of Rome: Perceptions of ancient Rome in Europe and the United States in the modern age, no.44 (2001), pp.23-55